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MANBAL 


INSTRUCTION 


^Dudebush’s\\friting [harts. 





TOPEKA, KANSAS: 

M 0. Frost, Printer and Binder, 831 Kansas Ave. 
1890. 


j 



Preface. 


We believe that writing should be an act of the 
mind as much as any other study. 

Drawing from objects is the only true method of 
learning to draw. Copying does not awaken any 
mental action in the line of the work being done. 
The former method teaches drawing, the latter 
method teaches copying. 

So with writing. The method we present teaches 
Writing, not copying. 

When the few characters used in writing are pre¬ 
sented to the eye in such a way as to show all their 
similarities and differences, with a few illustrations 
showing them combined into words and sentences, 
we have all that is necessary in the way of copies. 

The predominant feature in learning to write is 
practice, but the practice must be intelligent and 
careful and it must be taught on the same plan that 
a child learns to walk, or, when older, learns to play 
an instrument. The results at first seem to be dis¬ 
couraging, but patience and careful practice in the 
right direction leads to what we see in the athlete 
on the one hand and the accomplished pianist or vi¬ 
olinist on the other. 

We believe in applying these ideas in teaching 
writing. 

We believe that every writing exercise in school 
that does not bear directly on systematic writing in 



[3.] 

detail is a mockery. The thousands and thousands 
of young ladies and gentlemen in the United States 
to-day who cannot write a graceful, beautiful hand, 
say to the public schools, “ Why didn’t you teach 
us to write ? You could have done it just as well 
as not.” 

There are many little details which must be ob¬ 
served, or the writing will retrograde in spite of the 
strongest efforts the teacher can put forth to ad¬ 
vance. We have tried to make our ideas plain, and 
it may seem that we have been too explicit in some 
instances. We have repeated ideas, under different 
headings for a purpose. 

We have tested our plan and those who have 
tried it obtained excellent results. 

We commit our work, including Charts, Paper, 
Manual, etc., which together form a new system and 
.method of obtaining results in writing, feeling that 
the public will welcome anything that will be suc¬ 
cessful. 

We are very thankful for the encouragement we 
have already met with, and hope that those who 
have favored our work and those who shall yet fa¬ 
vor it, will never have any reason to regret it. 

Respectfully, 

Roudkbush Bros. 

Topeka, Kan., August 20, 1890. 

The charts are to be used with the manual. 


[4.] 

PART I. 

PLAN OK WORK. 

The plan of work carefully followed is all that is necessary 
to obtain excellent results. 

Books, Paper, &c. 


With what must each pupil be supplied ? 

With the writing package. 

What is the writing package? 

An envelope containing the writing charts and 
fifty sheets of paper and a blotter. 

With what must the teacher be supplied ? 

With the manual and a rubber specimen stamp, 
and cover for sample book. 

The fifty sheets of paper in the envelope is the 
supply. Three or four sheets for practice and spec¬ 
imens should be kept in the chart-book for use. 

What is a specimen ? 

See directions and explanations in the chart-book. 
The three lines under capitals and each of the three 
lines of capitals are illustrations of specimens. 

What is a practice sheet ? 

Any sheet on which the pupil practices his lesson 
preparatory to writing a specimen or makes the 
practice exercises. Any sheet on which a specimen 
has been written but not approved by the teacher 
should be used as a practice sheet. 

Where should practice sheets for practice be kept? 

In the chart book. 

When a practice sheet is used up, what is done 
with it? Put in the waste basket. 

When is a practice sheet used up ? 



[5.] 

When it has been written on, in as many ways as 
possible. 

How many ways may a sheet be written on ? 

Seven or eight different directions. Write letters 
or words on the lines; invert the paper and write 
on them again. Practice small letter exercises 
across the short way of the paper. Place one cor¬ 
ner of the paper from you, write exercises across 
the corner and fill the sheet in this way. Place the 
other corner of the same end of the sheet from you 
and practice as before. Be careful in all these ex¬ 
ercises to keep the lines straight and practice on 
the same exercise through one way. Now, practice 
the seventh or eighth exercises along the lines fill¬ 
ing the spaces on the paper. Turn the paper and 
practice the same thing across the short way. 

When the practice paper (not used up) accumu¬ 
lates, what is to be done with it ? 

Place it in the envelope as supply, being careful 
to keep it and the clean sheets separate. 

What is to be done with a specimen when ap¬ 
proved by the teacher? 

The pupil places it on file in the back of the 
chart-book, hooking it on the fasteners. 

What is the manual for? 

It explains the system and gives details for carry¬ 
ing on the work in school. It is expected that the 
teacher can understand the S3^stem by studying the 
manual carefully. 

What is the rubber stamp for ? 

The teacher approves a specimen by stamping it 
with this stamp. 

Why not use a mark made with a pencil ? 


[ 6 .] 

Because the pupil may use the same mark. 

Why have it approved by the teacher ? 

This makes the teacher responsible. 

Why have it approved at all? 

This forces the pupil to do good work which 
is the best practice he can have. 

What is the chart-book for ? 

It serves as an abridged text-book in which the 
subject-matter of writing is classified and the course 
in writing is outlined so that the pupil can follow 
it without help from any one. 

How is the chart book used? 

Before trying to write a specimen, the pupil 
studies his lesson, then puts his book in the desk 
and tries to write the specimen. If he fails he 
studies his lesson again, and placing his book in 
the desk, tries it again. 

Why place the book in the desk? 

In this way, the pupil must depend upon himself 
and w r rite from knowledge and not from copy. 

How does he study his lesson ? 

He examines it carefully in all the charts and 
directions, and sketches an outline of the lesson 
and specimen to be written on his practice .sheet. 

What is to be done for copies ? 

All that is necessary to explain the form of letters 
and their combination in words is given in the chart 
book. 

What is the sample book? This book is the 
copy-book—the high-grade specimens being filed 
in it as the specimens are filed in the chart-book. 

How many specimens of each lesson may be 
placed in the sample book ? 


[7.] 

Not more than three. If there are three speci¬ 
mens on one lesson in the sample book and a better 
one is presented to be placed in it, the poorest of 
the three must be taken out and the new one put in. 

How is this book a copy book? 

It is to be kept where pupils may examine it and 
criticise it and if too many just faults are found 
against any specimen it must be taken out. It 
serves as a lively copy book, containing copies 
which pupils will try to duplicate, and excel. 

The degree and grade should be marked on the 
paper when it is marked “specimen.” But the 
teacher may defer this until some other time, if for 
any reason, it be thought best. 


Division of the Work. 

The course is divided into two divisions with re¬ 
spect to work. The first division of work may be 
called the close movement division, which does not 
exclude the free movement exercises that aid great¬ 
ly in proper position and holding the pen, and 
gradually cultivates a freedom of movement in 
writing; but the form of letters and writing them 
accurately into page specimens is the prominent 
feature of this division of work, and this cannot be 
expected, only as it is done with close movement, 
from children under fourteen years of age, or from 
anybody without a great amount of practice. Those 
who can write page specimens accurately with free 
movement, work in the second or free movement 
division. 

The first division includes the work of about six 




[ 8 .] 

school years, and is divided into three degrees called 
first, second and third degree work. 

The first degree consists of making the letters 
and writing the printed words of the lessons on the 
chart, to the comma, with a pen or to the semicolon, 
with a pencil, and belongs to the first year. 

The scond degree belongs to the second year, and 
the work consists in writing the letters and words 
as before, to the semicolon but it must be done with 
the pen, and may be considered passable when it 
'reaches 80 per cent, of a high degree of perfection, 
for children of this age. This degree is worked 
over again in the third year, but the work is not 
passable under a grade of 90 per cent. Pupils in 
this degree should write as many, as ten specimens 
copied from the third reader or something similar, 
all of which should be written accurately and 
systematically. 

Pupils in the first and second degrees use simple 
capitals similar to those on the small-letter chart. 

The third degree work contemplates the course 
from the beginning, with a higher degree of per¬ 
fection than is required in the second degree. For 
this work, follow the directions on the inside of the 
first page of the cover of the chart book. 

Pupils may pass through this degree on a grade 
of 80 per cent, but should pass through it again 
with an average grade of not less than 90 per cent. 
The next work of this degree should be that of 
writing the pupil’s own composition, such as exam¬ 
ination papers, compositions, &c.; the writing of 
which should be as well done as in the regular 
writing lessons. 


[9.] 

During this time the pupils practice on free 
movement, on the exercises as suggested on the 
exercise chart and directions, until they can write 
all letters in groups and write simple words rapidly 
and correctly. This degree may correspond to the 
fourth, fifth and sixth years. 

The pupil may now try to write the fourth degree, 
rising words to the semicolon and finished capitals. 
—Grade 80 per cent Then go through the work 
again, taking the third degree work, but writing it 
in free movement. Grade not less than 90 per cent. 
These two divisions of the fourth degree may cor¬ 
respond to the seventh and eighth years in school. 

The fifth degree which adds all the embellish¬ 
ments, such as graceful shading, and beautiful com¬ 
binations and enables the pupil to write a letter in an 
artistic manner, belongs to the high school. Al¬ 
though the work is applied to school years, no pupil 
should be held back or be allowed to go forward 
faster than he can do the work correctly. 


The Writing Time. 

What must each pupil be supplied with? The 
charts, paper, blotter, pen and ink. 

What will each pupil do 011 beginning his book? 
Make a specimen of his writing on one of the 
sheets and place it on the fasteners in the back of 
the book. 

BEGINNING THE EXERCISE: 

1. Place pen and ink on the desk. 

2. Place charts on the desk. 

3. Open the charts and study the lesson. 




4- 


[ 10 .] 

Close the charts and place them in the desk, 
leaving two or three sheets of paper on the 
desk. 

5. Open ink well. 

6. Take pen. 

7. Take ink. 

Write a specimen. 

CLOSING THE EXERCISE. 

1. Stop promptly at the minute. 

2. Wipe pens. 

3. Close ink well. 

4. Use blotter. 

5. Take charts from desk. 

6. Take envelope from desk and place charts 
and paper in it and replace in desk. 

SPECIMEN. 

Writing the specimen includes preliminary prac¬ 
tice on the letters of the lesson, to get the correct 
form and this includes writing them, each in groups 
of four. When the pupil gets this and the written 
word of the lesson properly done the teacher tells 
him that he may try to write his specimen. As 
soon as he gets his specimen, which must be com¬ 
pleted, when once begun, without any questions 
from the pupil or instruction frcm the teacher, he 
presents it to the teacher who decides its merits and 
either tells him that he must try it over or stamps 
it “ specimen.” If the sheet is stamped by the 
teacher, the pupil places it on the fasteners in the 
back of his book and begins immediately on an¬ 
other specimen. 

To be ready to write a specimen in any degree 
often requires two or three weeks practice. 



[ 11 .] 

If the pupil studies the directions in the chart 
book carefully, he will know what makes a speci¬ 
men and the order in which lessons come. 

In Capitals the pupil passes from one group or 
lesson to another until he has gone through with 
all the capitals. Then he attempts to make the 
specimens. Each line of capitals makes a specimen. 

MOVEMENT EXERCISES. 

Practice on movement exercises may be omitted 
in the first division of work except in the last part 
of the third degree work. The efforts to success¬ 
fully form the letters and write them in words is 
the very best of practice. 

Once or twice a week, the pupils of this grade 
may be asked to make as neat a page as possible by 
writing practice exercises in several directions on a 
sheet. If this sheet be very neat in appearance it 
may be marked “ specimen ” and be placed in the 
book as the specimens are. The second, third or 
fourth exercises may be practiced for two or three 
minutes before every lesson, with free movement. 

SAMPLES. 

Any exceptionally nice specimens should be 
placed in the sample book by the pupil on the di¬ 
rection of the teacher, at the time of marking 
it. 

THE TEACHER’S WORK. 

The teacher should pass around among the pupils, 
giving instructions concerning the formation of let¬ 
ters, and when seeing that any one is ready to write 
a specimen, tell him to proceed with specimen. 


[ 12 .] 

Occasional Drills. 


FOR LEARNING FORM. 

1. Write *a word by principles only, and ask pu¬ 
pils to tell what the word is. Then add (i) exten¬ 
sions ; (2) special elements, and (3) final element. 
Now practice over this with a brisk movement and, 
if you have any of the loop letters, the incidental 
element which causes the loop will be formed as 
the result of movement. Remember an extension 
is only the continuation of the main element of the 
first principle which is always a straight line. 

Require pupils to write a word by principles on 
the board, and complete by adding the elements. 
Then practice over it. 

2. For practice in movement .—Make practice ex¬ 
ercises of words composed of letters not containing 
any elements but the standard principles. (1) Of 
those letters containing only simple elements 
which are i, x, u., n, m, until the words can be well 
written with free movement. (2) Use those letters 
of standard principles containing a compound ele¬ 
ment, which are w, v, o, with the simple element 
letters i, x, u, n, m. (3) Add the extension letters, 
one at a time, mastering the work each time. 

3. For Capitals .—Form a capital letter correctly 
and move the pen carefully along the outline until 
it can be done easily, then form the letter again and 
place on it a letter most resembling it and practice 
this letter as before, etc. 

Require pupils to make a single letter on the 
board at one trial. Begin at one pupil and number 
around the board, the pupil placing his number by 




[13.] 

the letter. Pupils pass to their seats. Each one 
writes the number of the pupil who, he thinks, 
made the best letter. Then proceed to find out 
who received the highest number of votes. 

Points to be Considered in Grading. 

Written Page. 

1. —General appearance. 

2. —Spacing. 

3. —Margin. 

The Writing . 

4. —Body. 

5. —Extensions. 

6. —Spacing. 

7. —Slant. 

Capitals. 

8. —H eighth. 

9. —Slant. 

10.—Harmony in strokes. 

Smart Eetters. 

1. —Main element. 

2. —Connective element. 

3. —Extension element. 

4. —Incidental element. 

5. —Special element. 

Capitats. 

1st, 2nd, 3d, &c., strokes. 

In marking a page, first write the word page , 
under it write only the numbers corresponding to 
subjects in the above table, which the writing 
shows to be incorrect. In marking a letter, place 
under it the numbers in the same way as the page 
is marked. Illustration page 32. 



[14.] 

PART II. 

CHARTS. 

Pupils should be able to answer all the questions about 
the charts. 

Small Letter Chart. 

How many sections are the letters divided into? 
Two, section one and section two. 

How many letters in section one? Seventeen. 
What letters are they? All the simple stroke 
letters. 

How many letters in section two ? Ten. What 
letters are they? All letters that have compound 
strokes, and r which has a crooked stroke. 

How many groups are there? Five. What let¬ 
ters in the first and fourth groups. All the short 
letters. 

What letters in the second group ? All the letters 
with short (one space) extensions. 

What letters in the third and fifth groups ? All 
the letters with full (two space) extensions. 

How many divisions are there ? Three. 

What letters in the first division ? All the letters 
that have only the first principle. 

How many are there ? Twelve. 

What letters are in the second division ? All the 
letters that have the second principle. 

How many are there ? Nine. 

What letters are in the third division? All the 
letters that have the third principle. 

How many are there ? Six. 

IvBSSONS. 

What section and group is the lesson in ? 





[ 15 .] 

How many letters in the lesson ? 

What are they ? Name them. 

What division is each letter in? 

How many principles has each letter? Name 
the principles of the letter in the order they come 
in the letter. 

Is each principle standard or modified? If modi¬ 
fied, how? 

Has either principle an extension? If so, is it 
short or full ? Has it an incidental element ? , 

Has the letter a characteristic element ? If so, 
describe it. All letters have the same final ele¬ 
ment when at the end of a word. 


Capital Letter Chart. 

Into how many sections are the capitals divided ? 
Two, the letters of the first section are made with¬ 
out raising the pen. Those of the second section 
are made in two parts. How many divisions are 
they divided into? Three. What letters in the 
first division ? Those in which the direct oval is 
the principle. 

What letters in the second division? Those that 
have the capital stem principle. 

What letters in the third division ? Those that 
have the inverted oval principle. 

How many groups or lessons are there ? Eleven 
groups, each containing three letters with some 
similarity. 

How many copies are there ? Three. 

What letters in the first copy ? The least diffi¬ 
cult. 




[ 16 .] 

In the second copy? The next most difficult. 
In the third copy? The most difficult. 


Analytical Chart. 

This chart almost explains itself, but pupils must 
be taught to look at it, and depend upon it largely 
to portray to them more fully to what extent the 
letters have been systematized. 

In finished letters there are but two full line let¬ 
ters, viz: i and x. The dotted line in c shows how 
the straight line, down stroke, is modified by the 
peculiar joining at the top. The effort to follow 
a straight line should be made in making the down 
stroke in c, just the same as in the other two. 
With exceptions of the first three lessons the let¬ 
ters are arranged the same as in the first chart. In 
each letter some other letter in full line may be 
seen. These letters may be called the construction 
letters. How many construction letters are there? 
Ten. Name them—i, x, c, u, n, a,—final t, 1 , j, h. 
The letters composed of one of the construction 
letters and additional dotted lines may be termed a 
derivative letter. How does the derivative letter 
differ from its construction letter ? Show this on 
the blackboard—(call on one of the pupils.) 

True letters omit the final stroke, for it belongs 
to final letters only. These letters being of the 
form found in continued writing must have the 
principles of writing. 

What letters in the first line ? Those having one 
principle. 

What letters in the second line? Those having 




[17.] 

two principles; m has three principles. What 
principle or principles has each letter ? 

In the principles the full lines show the simple 
standard principles, but dotted lines show the ex¬ 
tensions, and modifications. 

How many elements of principles are there? six. 

Into what two classes are they divided ? 

Simple and compound. 

How many simple elements are there ? Three. 

How many compound elements are there ? Three. 

Real letters are much the same as the printed 
letters written in slant with other modifications 
suited to writing them. It adds great interest to 
the study of letters, to examine them and compare 
them with the printed letter and note how each one 
holds its characteristic, and to see what changes 
were necessary to make a system. Systematiz¬ 
ing has almost obliterated the chatacteristics of 
the printed letter in some cases, yet, by examining 
closely and comparing carefully, the characteristics 
of the printed letter can be found in every script 
letter. 

Capitals.— One or more placed on another. Af¬ 
ter the principles of capitals have been learned 
such as the oval or letter O, the capital stem or 
the letters D, L, S; the best plan to assist in 
understanding the letters, is to place one or more 
upon another as suggested in this chart. 

Place the letters of each group in one place. 
Place each or all the letters of the first two groups 
(first division except D, which belongs in both 
divisions) on the letter O. Place each or all the 
letters of the second on P. Of course this must be 
done by first making one letter accurately. 


[ 18 .] 

Exercise Chart. 


The exercises here are suggestive. The left side 
of the page is the free movement letter chart which 
we try to use altogether. The other or right side 
of the chart is merely to develop movement when 
it cannot be reached by the other exercises. 

In writing the exercises the hand must move 
with the pen in all directions, which will require 
arm movement. The arm rests on the heavy 
muscles in front of the elbow and the hand rests on 
the third and fourth fingers, turned under slightly, 
so that the hand may slide easily in every direction. 
The extensions of the fifth and sixth exercise 
should be made with the finger movement. 

The fifth and sixth exercises are made by making 
groups one way, the width of a group apart, and 
then inverting the paper and filling in the spaces. 
This is the best and Shortest way to teach correct 
position. 

In the capital letter exercises, be sure you have 
the correct form outlined, then follow it with your 
pen or pencil, being careful not to use any finger 
movement. Follow the form slowly at first that it 
may be done accurately; increase to a rapid, regu¬ 
lar movement, but not faster than the form can be 
accurately followed. A prevalent idea that free 
movement means fast movement is a mistake. All 
writing must be done by making strokes and not 
by drawing lines; yet it must not be so fast that 
it cannot be deliberate, until much careful practice 
has fixed a habit of correct writing. 



[ 19 .] 

PART III. 

ANALYSIS. 

This part aids the teacher in understanding the system 
more definitely, but is not needed in the school only in ad¬ 
vanced grades. 

Basis of Analysis. 

We consider the writing of words or continued 
writing of letters a unit divided into the body of 
writing, and extensions; the body of writing a 
unit divided into elements which we call the princi¬ 
ples of writing; and a principle a unit composed 
of two elements. Every letter has one or two of 
these principles. 

A few letters require a special element to distin¬ 
guish them. 

All letters at the end of a word have the final 
element. _ 

Principles and Elements of Writing. 


THE BODY OF WRITING 

Is only that part of a written word that is necessary 
to show the joining of the connective and main 
elements. The connective element is, generally, a 
slanting upstroke curved down and to the right or up 
and to the left; occasionally this connective element 
is horizontal from the top of one principle to the 
top of another and curves down from one sixth of 
a space, as in wi, to one third of a space in we, os 
and or. 

The main element is a down stroke, always on 
the main slant, and a straight line. 






[ 20 .] 


PRINCIPLES. 

There are but three principles in the body of 
writing, each of which is composed of two ele¬ 
ments—the first, or connective element, and the 
second or main element. 

The first principle consists of a right curve and 
straight line joined at the top in an angle, as the 
first two strokes in the letter i {the first key letter .) 

The second principle is composed of a left curve 
and a straight line connected at the top by a short 
.turn, as the first two strokes in the letter x, (the 
second key letter.) 

The third principle consists of a left curve and a 
straight line, connected at the top in an angle, as 
the first two strokes, (omitting the dot) in the letter 

c, (the third key letterl) 

Every letter has one or two principles, m has 
three. 

The principles are standard or modified. 

A standard prmciple is one space high and one 
space wide at the base. 

The modified first principles in the first division 
are in e, final t, r and s. 

The modified second principles in the second 
division, are in k and z. 

The first principle in e is one space wide at the 
base, and only one-third space high, this requires 
the first element of the principle to be much more 
slanting than in the standard principles. The first 
principles in final t and p in the fifth lesson, is one 
space wide at the base and two spaces high, there¬ 
fore the first element is not so slanting as in the 
standard principles. 


[ 21 .] 

The first principle in s, is one and one-fourth 
space high and the main element curves to the left 
at or near the base. In r it is one and one-fourth 
space high, and is one and onedourth space wide at 
the base. The space at the base is widened on ac¬ 
count of the little characteristic element one-fourth 
space long that is inserted between the elements at 
the top. The second principle in k is one and one- 
fourth space high, and only a half space wide at the 
base. The first element is not so slanting as in the 
standard principle, but is longer and turns under 
and back one half space, forming a short hook or 
part of a little circle one-half space in diameter. 
This element lacks a little of closing on itself. 

The second principle in z, has its main element 
curved to the left near its base, like the main ele¬ 
ment in s. It is drawn to the left about one-third 
of a space. 

EXTENSIONS. 

An extension is the lengthening of one of the ele¬ 
ments of a principle. The principle extensions 
are up or down, and always consist in lengthening 
the main element of the first principle, with the 
exception of z, which may be considered the 
lengthening of the main element of the second 
principle, with the stroke broken at the base of the 
principle, a, d, g, q, each has an extension from 
the top of the third principle to the top of the first 
principle. In c the first element terminates in a 
dot. In s the curve of the main element extends 
one-half space to the left and up one-third of a 
space, thus forming a little hook which terminates 


[ 22 .] 

in a dot. The upper and lower extensions are meas¬ 
ured by the main element of the principle to which 
it belongs. In t and d the extension is just as long as 
the main element of the principle. In all the loop 
letters, e included, the extension is twice as long as 
the main element of the principle. The extensions 
not looped are short. The looped extensions are 
full extensions; e is not included in either class. 

An incidental element is the most natural path 
of the pen in moving quickly from one element to 
another, and in the small letters is that side of a 
loop opposite an extension of the main element. 

Special or characteristic elements , are elements 
that must be used in addition to the principles and 
elements already mentioned for the purpose of dis¬ 
tinguishing certain letters. The dot over i and in 
c, the cross on x and t, the little element in the 
top of the r, are special elements. 

The cross on x is made across the middlle of the 
main element. The special element in the top of 
r is an abrupt curve to the left about one-half space 
long, extending to a point one-fourth space to the 
right. The dot over i is on a line with the main 
element and one space above it. The dot of c is 
made immediately at the end of the connective ele¬ 
ment. The cross on t is as long as the main ele¬ 
ment and divides the extension into two equal 
parts, but the extension divides the cross into two 
unequal parts, one-third being to the left and 
two-thirds to the right. 

Each letter as given in the small letter chart, and 
finished letters in the analytical chart have the final 


[ 23 .] 

element which is a right curve like the first element 
in the first principle. This element never belongs to 
letters except when they are final. The finish of final 
letter t is a little compound curve from the middle 
of the main element and terminates at the same 
point as if finished like other letters. 

Capitals Analyzed. 


The left side of O, the C’s and oval A are alike, 
C in second group has the contracted oval, E is 
like C except the upward stroke, and it commences 
in the oval a little further to the right and is broken 
in about three-fourths of a space, one-third of its 
height from the top. 

D begins two and a half spaces high. The down 
stroke is on the main slant but is, first, curved slight¬ 
ly to the left, then slightly to the right, which 
makes what is called the compound curve. This 
joins at the base with a compound stroke corres¬ 
ponding exactly to the right side of the letter O. 
The little loop at the base is the result of attempt¬ 
ing to make the joining without stopping the pen, 
hence it is called an incidental element. L is pre¬ 
cisely like D to a point one space high on the sec¬ 
ond stroke of D, except the down stroke is three 
spaces high instead of two and a half, and the letter 
begins with an up stroke. 

For comparison of the down strokes in these let¬ 
ters see T and S, made in the same place on the an¬ 
alytical chart. S is like L, except that the down 
stroke ends in the contracted oval. The up stroke 
in C, L and S should begin about one space high, 




[ 24 .] 

and for a short distance should be a horizontal 
curve. This stroke does not belong to the real let¬ 
ters, but it is an easy way to begin a letter, it saves 
time and looks better. 

The first stroke of G is like the first stroke of 
small L. The second stroke is an oval that extends 
down two spaces and stops after turning up one- 
half space. The third stroke is the contracted oval. 

P begins like D. but the first stroke which is 
compound extends to the top where it joins in an 
oval turn with a simple stroke that meets the first 
stroke one space from its top. The large part of 
the letter is one and a half space wide and the small 
part is one-half space wide. 

B adds a compound stroke to P which fits around 
the base of the first stroke and finishes in the con¬ 
tracted oval. R adds a straight line on main slant 
and a finish like the final element in small letters. 
D introduces the capital stem and P introduces the 
inverted oval. 

Observe P and V, in same place, on analytical 
chart. The first stroke of V is the left side of the 
oval the second stroke is down and up, one-half 
space wide in middle. Compare U and V. W of 
this group is nearly like two V’s joined at the top 
in a short turn. 

Q is a full inverted oval finished at the base like 
T. Co mpare Q and I on the analytical chart; also 
I and J. Compare T and D, also A and T. A 
sh ould finish like H. 

H is a space wide at mid-height. All the spaces 
in A, N, M, V and W are one-half space wide at 
mid-height. 

The full height of each capital is three spaces. 


[ 25 .] 

Analysis of Letters by Strokes. 


Strokes are simple or compound. A stroke 
never crosses itself, but one stroke may cross 
another. A stroke that is in the same general di¬ 
rection, up or down, is a simple stroke. A 
stroke that reverts to or near itself, but does not 
cross itself, is a compound stroke. 

Counting .—Every stroke receives a count or one 
measure of time. 

Small letters .—Every finished letter has either 
three or five strokes except m, which has seven. 
Every true letter has one stroke less than the fin¬ 
ished letter, then every true letter has either two or 
four strokes except m has six. The up strokes re¬ 
ceive odd counts, the down strokes even counts. In 
writing a word the up strokes are designated by 
the count one and the down stroke by the count 
two. The final stroke receives the count one. 


SMALL LETTERS. 


Threee counts, 
i 1-2-1. 
x 1-2-1. 
c I-2-I. 
e r-2-i. 
t i-2-1. 
t I- 2 -I. 

1 I-2-I. 
j I-2-I. 

S I-2*-I. 
r i- 2 -i. 

V I-2*-I. 

O I-2*-I. 

b i-2*-i. 
q i- 2 *-i. 


Five counts. 

U I-2-I-2-I. 
n 1-2-1-2-1. 
a 1-2-i-2-i. 

d I-2-I-2-I. 
p I-2-I-2-I. 
h I-2-I-2-I. 

y 1-2-1-2-1. 

g I-2-I-2-I. 

W I-2-1-2*-1. 
k I-2-I-*2-I. 

q i-2-1- 2 *- 1 . 




[ 26 .] 


CAPITALS. 


O I*-2. 

C 1-2* 

A I*-2*. 
D 1-2*. 

C 1-2* 

K I*-2*. 

L 1-2-3. 

S 1-2*. 

G 1-2* 3* 


N 1 *-2 *-3. 

M i*- 2 *- 3 *- 4 . 

TTT 


W 1*2-3*. 
Q I*-2. 


P I*-2. 

B i*-2-3*. 
R i*-2-3-4- 

V 1-2*. 


Y i-2*-3~4. 
Z 1 *-2**3. 

X i*-2*-3. 

H i-2*-3~4*. 

K i- 2 *- 3 - 4-5 

t\. 1 *-2-3*. 

N I*-2*. 


M i*-2-3*-4. 



W i-2*-3*. 


*Compound stroke. 

The figures in the above tables number parts or 
elements in the order of making them. Thinking 
the letters in these parts while making them, aids 
greatly in forming them. The strokes should be 
made in regular time to counts, as indicated by the 
figures. The dot in c and the little special element 
in the top of r, may each receive a count when first 
learning them. Counting should not be used, only 
in the most simple letters, until in the third degree. 



[ 27 .] 

PART IV. 

VARIOUS SUBJECTS. 

There are many details in any branch that cannot be 
mentioned in a text-book. The best general instruction is : 
Be thorough and do not think that any small details may go 
unheeded; then, use common sense. 

Position. 


The proper position is of very great importance, 
many persons fail to get good results just because 
of an incorrect position. The position, for ready 
to write, should find the right fore arm lying across 
the middle of the paper at right angles to the lines. 

The left hand should be placed on the paper 
parallel with the lines. The body from the hips to 
the shoulders should be straight, but may lean for¬ 
ward and to the left slightly. The easiest and 
most natural position of the point of the pen should 
be on the line. A very common fault is to place 
the hand too high with relation to the line. 

For holding the pen see general directions in the 
chart book. 

Movement. 


Movement may be divided into close movement 
and free movement. Close movement is not incor¬ 
rect movement, but the movement of the pen is 
kept to the right place by effort, and the range of 
movement must either not be very long or it must 
be firm and deliberate by strokes, and seemingly 
compelled to write the correct form. If the pen be 
properly held by the thumb and first and second 
fingers, and the position of the pen with relation 





[ 28 .] 

to the line is correct, and the letters are properly 
formed, the movement must be correct, for if it be 
finger movement and the hand lying partially on 
the side, as little children invariably place the hand, 
the finger movement must be correct and the hand 
must move along with the work, although the 
action that moves the hand may be largely in the 
wrist and hand which we designate as close move¬ 
ment, The best drill for holding the pen and hand 
properly is practice on the first and second exer¬ 
cises.. Children should be discouraged from laying 
the hand on the side, but they should first be led 
to see that they can hold it properly, by drilling on 
some easy exercise or words that they have 
thoroughly learned. 

It is almost impossible to write words and form 
the letters correctly without using a correct 
movement, so the very careful forming of letters 
must, of necessity, be conducive to good movement. 
The common school teacher is much safer in requir¬ 
ing the correct and systematic form of letters with¬ 
out saying anything about the movement than to 
try to teach movement first. 


Spacing. 


The standard principles are one space high and 
one space wide at the base. These spaces are 
the same if the width is measured horizontally and 
the height measured vertically. This is shown by 
squares at the bottom of the exercise chart. These 
squares, also, give a plan for getting the correct 
slant of writing. The two inside squares overlap 




[ 29 .] 

one-fourth of their width, this shows the main slant 
to be a diagonal from the upper right hand corner 
to the lower left hand corner of three-fourths of a 
square, aud the connective slant to be from the up¬ 
per right hand corner to the lower left hand corner 
of one and three-fourths of a square. A space be¬ 
tween letters is slightfy wider than a space between 
parts of a letter. Capitals are three spaces high, 
or the same height as the* small letter 1 . Capital O 
is two spaces (full) wide. The inverted oval for 
the third division of capitals is the same as the 
direct oval with right side made nearly straight, 
which makes the oval only one and a half space wide. 
In Q the oval is full width. 

Space between words is determined by beginning a 
succeeding word at a point on a vertical line in which 
the preceding word ends. This is true when words 
begin with the connective element and end with- 
the final element. Care should be taken not to 
write words too far apart. 

Sentences should be a space wider apart than 
words. 

The first small letter of a word beginning with a 
capital should be written very closely to the capital, 
within one fourth of a space. 

Shading. 


The short extensions in t, d, p, are shaded at their 
extremities to keep from showing a loop that would 
be the result of free movement. Those working in 
the first and second degrees should not attempt any 
shading, and those in the third degree only the 




[ 30 .] 

cases above mentioned. The shading in these let¬ 
ters should not be bunchy but should gradually de¬ 
crease from the extremity of the extension to the 
principle. 

Shades on any other small letters should be left 
for fifth degree work. Those working in the third 
degree had better not attempt to shade capitals, 
but those in the fourth degree work should shade 
capitals. 

Capitals are shaded on curves, the shade being the 
heaviest in the middle and gradually decreasing to 
the extremities of the curve. This rule is general, 
but has some seeming exceptions; a few straight 
lines occur in capitals, that are shaded. 

A shade should be made with a quicker move¬ 
ment than any other part of writing. In executing 
the capitals with free movement a proper use of 
shading is a great assistance in forming the letters 
correctly. No two successive down strokes should 
be shaded. 

Shading should be practiced on the strokes with¬ 
out connecting them with the letter, until it can be 
well done, then attempted in the letter. A page 
looks much better without any shading unless it be 
skillfully executed. 


To Time. 


Our system by strokes is adapted to writing to 
time by count or music. This greatly assists in 
learning, for writing must be done by making 
strokes quickly. The counting should be sharp but 
slow enough to give the pupil plenty of time be- 




[ 31 .] 

tween strokes. Counting should be by stroke in 
the first, second and third degrees, but by principle 
in the fourth degree, every principle receiving a 
count instead of every stroke. 

The best instrument for the school-room, for 
keeping time is the metronome; it will run for 
about half an hour, and the time can be regulated 
to any speed. Each pupil, then, can write on his 
individual lesson, and the teacher give her time to 
assisting the pupils. 


Never. 

Never write until you have the proper position 
and are holding the pen properly. 

Never write until you know the form of the letter 
or letters you are about to write. 

Never write faster than you can write the correct 
form. 

Never scrible over the paper without regard to a 
neat page. Never practice exercises without a page 
design. Never write with an irregular jerky move¬ 
ment. Never make heavy lines except in proper 
shading. 

Particular Points. 

4 The main element or down stroke, with or with¬ 
out extension must be a straight line on main slant 
throughout its extent. All joinings at the base are 
short turns, except in the letter s, and where a 
second principle follows a first or second principle 
in the same letter; these join by angles. 

What is a short turn ? 






[ 32 .] 

A short turn is just as near an angle as can be 
made without stopping the pen. 

The connective element must be on connective 
slant, and curved down in first principle and up in 
the second and third principles. This element in 
second and third principle is the same. The exten¬ 
sion at the top of the third principle in a, d, g, q, 
must not be hooked down, but must be horizontal 
across the top. Practice necessarily shortens the 
third principle in these letters, and slants the exten- 
' sion at the top; yet the effort should always be to 
make the principle full height and the extension 
horizontal. The little shoulder in the r, should be 
very marked, for practice will modify it a great deal. 
The principle in e must be only one-third space 
high. _ 

Illustration for Marking. 


See Page 13. 


Page. 

k. 

G. 

2 . 

I 1 . 

2 . 

5 - 

2 2 . 

. 3 - 

IO. 

3 - 



The illustration shows the page to be wrong in 
spacing, extensions, and harmony of strokes in 
capitals. It shows the letter k to be wrong in the 
second stroke of the first principle, in the first 
.stroke of the second principle, and in the exten¬ 
sions, and G to be wrong in the second and third 
strokes. 

Tessons in writing by mail at very reasonable 
rates. Address all communications to 

ROUDEBUSH BROS., Topeka, Kas. 

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